Call for Contributions/Extended Deadine
Network of Pointes
Guest Editors: Drs. Kathrina Farrugia and Jill Nunes Jensen
Contemporary ballet has quickly become an identifiable sub-genre; still the term is ambiguous and subject to a multiplicity of interpretations. Because innovative ways of moving require new lenses through which choreography can be viewed, dance studies is now prompted to reconsider the initial inquiries that shaped the field. While the technique might be encouraging a decentralizing discourse, an innovative dialogue about the role of contemporary ballet stands to be initiated.
This edition of Conversations Across the Field of Dance Studies thinks through the genre of contemporary ballet and what it means to scholars, practitioners, choreographers and audiences of these ballets today. It seeks not to define, but to plumb how the shift into this new idea of dance has been introduced globally and to speculate about the requisite effects on the historiography of the form.
Submissions could relate (but are not limited) to the following proposed themes:
- What is contemporary ballet?
- How do contemporary ballet bodies differ and redefine the genre writ large?
- What makes a ballet or company “contemporary”? Is it a deviation at the level of style, form, or composition?
- How is contemporary ballet interpreted on global stages?
- Which choreographers/companies are working in this genre today and is there a marginalization of these artists with respect to ballet proper
- How might contemporary ballet be distinguished from neoclassicism?
- How do choreographers/artists speak about their practices and the current state of ballet?
- Is there variation when it comes to training, if so, at what stage?
This volume posits that there is a burgeoning network of contemporary ballet and seeks submissions that encourage conversation. With 2000 words as an approximation, and 2500 words as a maximum, creatively structured entries are encouraged. We welcome contributions in several forms including short articles, fiction, ethnography, photography, visual images, interviews, poetry, histories, or performative representations of dance.
Please send inquiries and submissions to both Kathrina Farrugia ( firstname.lastname@example.org) and Jill Nunes Jensen ( email@example.com) by May 15, 2014. (The original deadline of April 1, 2014 has been extended.)